Millepied aims to bring serious dance back to L.A.

Sept. 20, 2012

Updated Aug. 21, 2013 1:17 p.m.

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Members of Benjamin Millepied's :.A. Dance Project in rehearsal. Millepied: "I picked people that I could shape. And they're all contemporary dancers, all modern. So it's definitely a new step for me. Like Balanchine, I care about the personalities behind the bodies." PHOTO COURTESY LADP

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A member of Benjamin Millepied's company in rehearsal. The 35-year-old choreographer and former New York City Ballet principal dancer is better known as the creative force behind the movie “Black Swan” and for his relationship with that film's star, Natalie Portman, whom he recently married. PHOTO COURTESY LADP

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Members of L.A. Dance Project in rehearsal. Los Angeles has been an inhospitable environment for serious dance companies for as long as most fans can remember. But that lamentable situation might soon change, thanks to a Frenchman whose resume artfully bridges classical dance and Hollywood: Benjamin Millepied. PHOTO COURTESDY LADP

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Members of LA Dance Project in rehearsal. Since the demise of John Clifford's Los Angeles Ballet in 1985 after a troubled decade of existence, there has been no ballet-based ensemble of national significance there. PHOTO COURTESY LADP

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Benjamin Millepied's newly formed L.A. Dance Project kicks off the 10th anniversary season of Glorya Kaufman Presents Dance at the Music Center with a rare dance performance at Walt Disney Concert Hall on Sept. 22. PHOTO COURTESY LADP

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LA Dance Project will dance its debut concerts this weekend at the Walt Disney Concert Hall. The prohram features a new commissioned choreography by Millepied as well as works by two American masters of different generations: William Forsythe's “Quintett” (1993) and Merce Cunningham's “Winterbranch” (1964). PHOTO COURTESY LADP

Members of Benjamin Millepied's :.A. Dance Project in rehearsal. Millepied: "I picked people that I could shape. And they're all contemporary dancers, all modern. So it's definitely a new step for me. Like Balanchine, I care about the personalities behind the bodies." PHOTO COURTESY LADP

The 35-year-old choreographer and former New York City Ballet principal dancer is better known as the creative force behind the movie "Black Swan" and for his relationship with that film's star, Natalie Portman, whom he recently married.

But soon Millepied could be referred to as the man who brought serious dance back to Los Angeles.

Since the demise of John Clifford's Los Angeles Ballet in 1985 after a troubled decade of existence, there has been no ballet-based ensemble of national significance there. (Orange County is similarly bereft; we lost Ballet Pacifica in 2007.) Modern dance is similarly underappreciated.

Now Millepied, with the backing of the Music Center, aims to end the drought. His newly formed L.A. Dance Project kicks off the 10th anniversary season of Glorya Kaufman Presents Dance at the Music Center with a rare dance performance at Walt Disney Concert Hall on Sept. 22. The evening features a new commissioned choreography by Millepied as well as works by two American masters of different generations: William Forsythe's "Quintett" (1993) and Merce Cunningham's "Winterbranch" (1964).

We talked with Millepied about his company's upcoming debut during a rehearsal break last week.

The Orange County Register:We hear you picked six dancers that you've never worked with for your new company.

Benjamin Millepied: I've always worked with dancers that I knew and worked with myself. Because they dance for a company, they are working with a different vision, a different director. Here I picked people that I could shape. And they're all contemporary dancers, all modern. So it's definitely a new step for me. Like Balanchine, I care about the personalities behind the bodies.

The Register:Your company is dancing in the Walt Disney Concert Hall, not the Dorothy Chandler Pavilion, where most dance concerts in the Glorya Kaufman series take place. Why?

Millepied: It seemed like the most suitable space in terms of its size. It's a theater that imposes itself on you. You're sort of stuck with the architecture, which is fantastic. I like the idea of performing in an architecturally distinctive venue, and a place of distinction. Also, my composer (Nico Muhly) is using the organ, so that's a big deal.

The Register:In your new work you're also working with artist Christopher Wool, and your costumes are designed by Kate and Laura Mulleavy of Rodarte. What has the collaboration been like?

Millepied: Musically we're working with a theme and variations, which is very much present in some of Chris' work too. There are designs that interact in various ways and mirror each other. From an artistic point of view, collaboration is a very enriching experience. It opens doors. It gives you insight into things, causes thoughts you never had before. I love to see works that have a lot of levels and components; it multiplies my interest.

The Register:Why starta company here and not in a city like New York, which has a more supportive history for dance?

Millepied: First of all, I was excited by Los Angeles on a personal level. I am also intrigued by the fact that (a serious dance company) never really took hold here. There's no reason for it not to. I think there was just never the chance for the right project at the right moment to take place. I hope my project will take hold here. Also there is a sort of buoyant and free spirit here that has existed for a long time. There is a sense of freedom here and a unique identity. I want to capture that in my company. We are working with several filmmakers right now on some things, which I think is one of the great advantages of working (in Los Angeles).

The Register:Your company is scheduled to tour through 2014. Why is that important to you?

Millepied: It is crucial to a company's development – especially European touring. It's great exposure for us. A lot of great dance that originated in Los Angeles has not traveled. I don't want that to happen with this company.

The Register:Will the company get larger?

Millepied: Absolutely. I want more dancers; we'll be hiring more soon. But I don't know how big I want to get, and I don't want to get too big too fast. When (a company) is smaller we can focus on the quality of the projects that we do. The ability to go from a museum to a stage to a small park is very practical.

The Register:What else do you plan to do with your new company?

Millepied: We're inviting a few choreographers in to work with us. And I like the idea also of reviving the American (dance) works that might be in danger. I will bring in European choreographers as well, but I don't want it to be an American company doing European work. I want to focus on what this country has to offer.

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